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"HF" vs. "S&S" gaming: the underlying reason of conflict and change in D&D
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<blockquote data-quote="Ariosto" data-source="post: 4819382" data-attributes="member: 80487"><p>Fritz Leiber coined the S&S term with an eye to distinguishing his work from Tolkien's (or at least from <em>The Lord of the Rings</em>). Although Howard is widely acknowledged as a -- or even "the" -- master of the subgenre, he also wrote in a wide variety of other modes. His stories of Solomon Kane and Bran Mak Morn are among those others.</p><p></p><p>Taking "high fantasy" as a term for the Tolkien end of the spectrum, I would say that among its features is a deep concern with consequences beyond the personal. In TLOTR, Frodo and Samwise are not outsiders but members in good standing of society; their undertaking is not for the sake of adventure, but motivated by concern for the welfare of their community; and its outcome is of truly epic import, determining the fate of all Middle-Earth and ending an age.</p><p></p><p>Howard's Bran is not so successful in championing the cause of the Picts -- but his tale is a tragedy rather than a farce because of how it is developed.</p><p></p><p>Such a well-rounded tale may arise despite the vagaries of chance, but those can easily nip it in the bud. So, if one sets out expecting to play a central role in, or to tell, such a story then avoidance of disappointment entails making the necessary elements not subject to such whimsy.</p><p></p><p>Is that not a general trend in D&D (and other fantasy games) over the past decades?</p></blockquote><p></p>
[QUOTE="Ariosto, post: 4819382, member: 80487"] Fritz Leiber coined the S&S term with an eye to distinguishing his work from Tolkien's (or at least from [i]The Lord of the Rings[/i]). Although Howard is widely acknowledged as a -- or even "the" -- master of the subgenre, he also wrote in a wide variety of other modes. His stories of Solomon Kane and Bran Mak Morn are among those others. Taking "high fantasy" as a term for the Tolkien end of the spectrum, I would say that among its features is a deep concern with consequences beyond the personal. In TLOTR, Frodo and Samwise are not outsiders but members in good standing of society; their undertaking is not for the sake of adventure, but motivated by concern for the welfare of their community; and its outcome is of truly epic import, determining the fate of all Middle-Earth and ending an age. Howard's Bran is not so successful in championing the cause of the Picts -- but his tale is a tragedy rather than a farce because of how it is developed. Such a well-rounded tale may arise despite the vagaries of chance, but those can easily nip it in the bud. So, if one sets out expecting to play a central role in, or to tell, such a story then avoidance of disappointment entails making the necessary elements not subject to such whimsy. Is that not a general trend in D&D (and other fantasy games) over the past decades? [/QUOTE]
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"HF" vs. "S&S" gaming: the underlying reason of conflict and change in D&D
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